King_leer's Videos Playlist....Summer 2015

Sunday, 19 December 2010

With this post ends my contribution to better understand the work behind the last Kasabian’s record release. After the 2008 magnificent “Only By the Night” by Kings of Leon, in 2009 my choice was this West Ryder Pauper Lunatic Asylum. Now that 2010 is ending there’s undoubtedly some good records to explore. I hope you all liked it and what better to finish this study with the great Dan The Automator? Wish you all a Merry Xmas and a great 2011.

King_leer (KL):

We all know about your past work and if you take a look at some of the last Kasabian’s record reviews, almost everyone tries to point it out the tune that your presence is more – how shell i say – noticed. For instance at the NME’s review Hamish MacBain fires with “Take Aim”. Meanwhile, Serge Pizzorno tells in a interview that the sound on “Underdog” it’s a “...21st century sounding tune. It’s one of the reasons we got Dan The Automator in to produce it.

So Dan, for you what is the track that you most identify with you and your background as a musician, producer, etc.

Dan The Automator (DTA):

actually I look more at the overall work as opposed to one song because it is the variety that makes up the style, but if I were to choose 1 I would probably say vlad

(KL):

What’s your role in the creative process as a producer in this record. For instance i’ve talked with the producers from the Kings of Leon record and you can figure that the band has a major important role on it, while by the other way, when talking to Stephen Street on the last/first Pete Doherty solo album i could also state that the producer had a major role on the final result.

Since Serge - although i don’t know him personally writes almost all the songs and i believe he follows up all of the creative process with great commitment. Tell us a little bit about this relation and how was is in “the field”.

(DTA):

Every song has different needs, some involve removing stuff must involve adding drums the goal is always to make the most of what everyone has to offer to make the best record possible. Sometimes it is listening to what serge wants to achieve and sometimes it is showing him a new place to take it.

Since the strings were recorded in other sessions, the other instruments were recorded stand alone or along with the band, like a live session.

the process is additive and things got recorded and added as needed.

(KL):

What was the strangest effect you used on a track from this record? What was the track that took you more time to produce - any special reason?

(DTA):

Varieties of tape echoes and other old esoteric gear was used to created some of the ambiance probably the oddest was the use of various old English farming tools.

(KL):

Finally, on you and your projects:

There’s something you said in the past that I really understand and have the same opinion:

“ I’ve followed people that don’t pay much attention tocategorise music…..for me This will sound good is ok”. Is this the secret for you to work in a wide spectrum of different music styles?

(DTA):

I like a wide variety of music and appreciate the different strengths in the various genres. So when I make music any and everything can be a part of it. It is also probably why I am comfortable working in different musical styles.

(KL):

What are your next projects?

(DTA):

Working on a new record with a new girl (Pillow Fight).

Doing songs in this new movie called scott pilgrim.

I’m doing also one Asian pop record .

Finally, I’m setting up a world class Dj program/show series in San Francisco to showcase the top musical djs and further link them to musical band type situations. the first of the series will feature Dj Qbert.

Also will work in a couple other records but, too early to talk about.

Saturday, 4 December 2010

Howie Weinberg is a master on the mastering process. Worked on – as he stated – between 2,000 to 3,000 records since the early 80’s. From James Brown to U2 and Nirvana to Public Enemy, Glasvegas, and Gorillaz . In fact, Howie received in 1996 a TEC award for “best record production/single-track” for his work on the “Feel Good Inc,” masterpiece.He’s with Masterdisksince 1977.

His recent work with Kasabian was the reason for this quick phone conversation a little while ago. So, let’s read what the Master has to tell us about this record:

On Kasabian’s record:

King_leer (KL):

Who made the call for Kasabian’s newrecord?

Howie Weinberg (WB):

In fact it was Dan. Dan is the client as well as Sony, the label. We have a very close work relationship. I have a amazing studio set-up and that’s all. We work together for 10 years now in all kind of projects.

(KL):

When you are mastering (i believe) the producer or band members will ear the final result and then close the subject. How did it go with Kasabian’s record ? Who was following the process with you? It was Dan, the band or both? What kind of communication was in place between you and the producer/band?

(WB):

Dan and I knew very well what to do andwhat the band wanted. Although, the band had a great input, they were very proactive also. We sat down and start promptly the work. We had a very good mix.

On You

(KL):

Can you pick from all your discography the most difficult records you have worked in - technically speaking?

Sunday, 21 November 2010

Well, now we reach to that part where everyone of us surely admires. Who never hold a LP, CD, K7, etc and observed the art work and was influence with some besides the musical content. For a better understanding on this task, I’ve asked Tom Skipp a couple of questions about his work on this record. I hope that – as I did – you all better understand the story and the real concept of this “West Ryder Pauper Lunatic Asylum”.

KING_LEER (KL):

To readers fully understanding, explain please to us what is the role of a graphic designer on a musical work like this one?

TOM SKIPP (TS):

A Graphic Designer's role can be very different on music projects. With Kasabian and this project I was very involved. When I joined the project there was a loose idea derived from the name of the album "West Ryder Pauper Lunatic Asylum". I began discussions with "WIZ" (Andrew Whiston) on how we could make this album feel like a collection of things that could've been found at the Asylum. WIZ had collected many images, objects and quotes as reference which led me to explore some surrealist concepts and also optical illusions. Also I looked at various ways to compile this apparently disparate collection of imagery. We then carried out the shoot, for which WIZ enlisted the help of costume designers and prop stylists. I also documented the day of shooting and took my own portraits of the band on an old Polaroid Land camera, some of which can be seen in the album art. When we had collected the imagery it then became my job to make things reality and deliver everything in a printable format to the record company. With Kasabian there were many different formats and surrounding marketing to deliver, my working hours became 24/7 during this time.

KL:

Who approached you in order to get along in this Kasabian's project?

TS:

I was contacted by the head of Creative at Sony UK. I was invited for a meeting unaware of what the project would be and then asked whether it would be a project that interested me and whether I could carry it out successfully. I think I was chosen due to the abnormal nature of the project and my history of working with people notorious for their unconventional working methods.

KL:

How was the creative process? How did it work? Did you received initial instruction from the band or management for the path they would like to follow? Tell us a little bit about the story of this work of art.

TS:

When I joined the process WIZ and Serge (Sergio Pizzorno) from the band had already been playing with concepts. There was not a strong visual direction from the record company but I kept them well informed throughout the process, making sure they were happy with the path we were taking. The creative direction came from WIZ and that was translated from the band. So I became the communication conduit between the record company and WIZ, but in this role I also had to translate what became our ideas into something tangible. It was not easy, as WIZ is a prolific Video Director so would be very busy during this time and neither of us had a permanent office, let's say the process was fluid.

KL:

From all Kasabian members who was the one that followed the creative process with more attention?

TS:

Serge took the most interest in the artwork, I don't think it's that the others didn't care what it looked like, I think they trusted him to take the lead. This was very refreshing as there appeared to be one decisive vision. I think that Serge also respects the people that were installed to carry out the work, he trusts WIZ and that trust was also given me. Serge was very open to our ideas and we were open to his. Compared to other projects this felt like a genuine creative collaboration.

KL:

I'll post also links to your website but as a final question tell me a little more about your background, future projects and how it was to work with Peter Saville?

TS:

I have worked in graphic design for 9 years. Starting at university where I did a very short placement at Form (http://www.form.uk.com/). Then I spent a summer at v23 with Vaughan Oliver and Chris Bigg. When I graduated from university I got a job at v23 and also with Peter Saville. I worked 2/3 days a week at each, neither of which are what I'd call 'normal' studios. I've meandered along many a path in between then and now, working at many different places including Big Active, Blue Source, Love, Gap and many others! Working with both Vaughan Oliver and Peter Saville gave me a great start. After working in London since graduation I moved to Paris in the summer of 2009 and have started to make working connections here, while also still working for clients in London. Paris is a new challenge firstly for language and then to build clients and working relationships, who knows what the future holds!